The clarion. [volume] (Jackson, Miss.) 1883-1888, 1887-03-30
Sarah Bernhardt as Camille
n. Y. Tribune. !


1t is not, perhaps, judicious to withdraw
successful novelty and replace it with a
hackneyed iteration. Nothing could be
more characteristic, more essentially rep
resentative, of Nine Bernhardt's dramatic
method and nature than the type OF woman
that is shown in her personation of "Fe-
dcra." Ii exhibits to singular advantage
her victorious attributes and her natural
style. 1t was brilliantly effective on Mon
day night, and its repetition would Ger
tainly have found favor. 1t will be again
given this evening and at future times
but last ight il was set aside by revival
in presence of a numerous and cordial
throng-of the French d anna which Amer
lean audiences know under the name Of
"CamilleF This is a very old story, and
one that presents subject disagreeable for
reflection and difficult Tor remark. There
are many distressing situations in the play
OF Camille" !" and these beside being en-
yironed with associations of impurity, are
postured in such way as, more or less, to
confuse the moral sense. As often as this
piece recurs, accordingly, it seems needful
that slight word of protest should be
spoken against it. Every thinking OBJ
server knows that its theme is more appro-
pirate to the hospital than to the stage,
and, certainly, that it is not a suitable one
for that peculiar sort of public considsra-
ton and discussion which ensues upon a
dramatic performance. On the other hand,
il is not to be denied that Camille af-
fords ample scope for emotional display
in the art Of acting. AS commonly pre-
sented here its heroine is beautiful wo-
man. radically yirtuous by nature, who
has been driven into a life OF shameful sin,
hr,f ell iad to IN hat lfoI
under circumstances of inexorable social
tyranny, and who becomes not only pa
thetic but sublime by heroic self
sacrifice. 1t is, perhaps, needless to re-
mark that considerable shuffiing of the
pack was necessary-and was made be
fore this deal could be accomplished.
Nine. Bernhardt presents, of course, the
original French play. The odor of it is
not fragrant but her performance of the
central character is marked by consum
mate and beautiful thoroughness of exc
cution, and is not only radiant with fine
moments but as "a whole is a superb
piece of melancholy and deplorable truth
Plavgoers wiz seldom see manifestations
of human nature so affecting as Nine.
Bernhardts revelation of "Camille's" mis-
cry when reading the repfoaehful letter of
her lover; nor have they often seen pic
ture more impressive than Nine. Bern
hardt's i'm age and denotement OF the final
ecstacy of "Camille's" death. 1t may or
may not be an intentional felicity in this
impersonation, but certainly it seems TO be
a fundamental attribute to this actors
ideal that. beneath the sin and shame OF
"Camille's" condition, there shall be
strain of physical purity, and at last that
the capacity of spiritual remorse shall be
developed in her by the action of true love.
Thus while the structure of this work is
not directly reared upon the basis OF self
conflict at the outset, it becomes a type of
self-contiict before ii is completely evolved.
The goodness in the woman's nature, after
love has awakened it, is tortured by the
taint of unholy passion, the sense of shame
and the hungry craving for impossible
happiness. One thinks of Moore's fue
line about the torture of the doomed
traitor in everlasting torment, "Beholdipg
heaven and feeling hell" The effect of
pathos that is produced by Mime. Bern
hardt does not, however, ensue from her
presentment of moral heroisnl, but rather
from her display of an exquisite human
creature in dreadful trouble and pain.
The life of this Camille" while undis-
turbed in the society of her lover, is that
of sensuous ecstacy. She almost purrs
Win pressure Wnen tnlS happiness Is
shattered she becomes a tortured outcast
and a wretch.
The piece makes no draft upon the
springs of Nine. Bernhardt's essential
power. The amazing delightful re-
sources of her art, nevertheless are steadily
and superbly employed in its service.
The substantial value of the impersona-
tion, if it has any apart from beauty of
form and texture consists in this-that it
shows what woman may become under
circumstances of luxury and temptation,
when she yields to vanity and passion and
drifts away from safeguards of right prin-
ciple and a virtuous heart.